Introduction to Architectural Sketching

1. Introduction to architectural sketching: Pick up your pencil because you're about to learn how to turn your architectural ideas into reality. Hi. I'm Moshe Katz and welcome to the introduction to Architectural sketching Cork. Think about it. Every great building, every iconic structure started with a simple sketch. Sketching isn't just a skill. It's the first step in turning your imagination into something real. It's how architects communicate their ideas and solve design challenges. Maybe you're dreaming of designing skyscrapers, luxury houses, or reimagining entire cities. It all begins with a sketch. And the best part, sketching is something anyone can learn with the right guidance and practice. That's exactly why I have designed this fun course. I want to teach you practical techniques and share tips and tricks I've developed over the years as an independent international architect. Maybe you're getting ready to start architecture school, already studying or even working as an architect and want to sharpen your skills. This course is for you. I'll start by teaching you to see the world like an architect, breaking it down into shapes, spaces, and perspectives you will bring to life on paper. Then we'll move on to the basics, sketching three D spaces and drawing everything from interiors to exteriors and urban scenes. You learn how to use light and shadow to add depth and details like people and trees to make your sketches come alive. But this isn't just about techniques. It's about teaching your hand to follow your imagination. We'll begin with simple exercises to help you gain control and confidence, then gradually build towards more dynamic sketching projects. You'll sketch alongside me step by step and at your own pace until we're ready to turn blank pages into sketches that tell your story. So if you're ready to surprise yourself at how good you can sketch and have some fun along the way, let's get started. 2. Warm-up exeercises: Hi, everyone. This is Lesson number nine, the warm up exercises. So grab your tools, pencils or pens. This time we're going to have fun. Let's try some nice warm up exercises together and just feel the effect of the different tools when we start sketching. So before we start sketching, let's synchronize our hands, our eyes, and our hearts. With some warm up exercises that help us. Before we go directly into the architectural sketch, I usually start with some warm up exercises to have a moment of gathering my energy together and feel confident to start sketching structures and spaces. So make sure your workspace is equipped with anything that you might need, put some music on, change the light, create some nice mood, and, yeah, let's have fun. Let's start. So the first exercise is the straight lines. We will start with sketching parallel lines to each other. Either vertically, start with them, then we'll do the horizontal ones. So we start with one line which is straight, and then all the rest of the lines that come after are going to be parallel to this line. First, you do it slowly, then change the rhythm and make it faster and faster each time. After you finish with vertical and horizontal, try to do the same thing with diagonal lines. Same thing, try to do with crossing lines. So we'll do diagonal, then we'll do vertical, and then horizontal. We'll put them all together one on top of the other and do as many lines as we can. The second exercise are the circles and the round shapes. So first, let's draw some circles in an echo. We start with one circle in the middle and other circles that are echoing outside from that center with bigger and bigger and bigger circles. Extend the field of those circles and create a certain extension of that small circle in the middle. Try to start slow and be accurate, but as you go along, start to be more fast and fast until you feel more confident to create circles. The next stage, try to do some elliptical shapes. Start with small ones, and then slowly echo bigger and bigger ones extending from the middle. Once you've done that, let's do some spheres. So basically, a sphere is designed by a circle and an arch that shows us the direction of a sphere. So do some different sizes, experiment with those spheres, play around, and see how you can be more and more accurate and clear about the shape of it. Our next exercise is sketching cubes and cylinders. So let's focus on creating one cylinder. It's elliptical structure with vertical lines coming down and then closing on the bottom with an arch which is a half elliptical shape because the other half is invisible to our eyes. It's somewhere inside. So there are two elliptical, one on top, one of the bottom, and two straight lines connecting them vertically. Try to draw at least five to ten cylinders, create those vertical lines that express the different movement, the circular movement of the cylinder. So you fill the vertical part with a hatching line technique. It's a parallel hatching until you feel the movement of the circular surface. After you've done that, let's try to create the shading. So it's a bit of a smudging work. So the part that is more on the extremes of the cylinder on top and on the bottom will be more in shade while the front part is going to be more in the light. So the more you distance yourself from left to right, you will be more and more and more in the shade. So it's do the smudging, and as you go from right to left, start smudging more intensely. So when you see the gradient of the shading, this is how you feel the round surfaces coming to life. Same thing. Do with the cubes, try to create some different sizes of cubes, different shapes, and try to work with different hatching technique on the cube, but also with the different shading. And the last most interesting and fun exercise is the free forms and free lines. This is where you can go a bit crazy with fast strokes, and you build your shapes really fast, go all the way on top of your paper. Just make sure that you're in continuous motion, and slowly you build your shapes, your circles, your elliptical, your cubes or your cylinders. You can play around with all the shapes that you have created before, but do them now in a very fast mode and free form, extend yourself on all of the paper without any limits or any thoughts about it. Just play around, have fun with it, and be free. So these are our warm up exercises before we start sketching architecture. It's just to make us feel a bit more comfortable and more confident with our hands and eye, just to know that we are synchronized and we are ready, and we're ready to go over for the important sketching part of architectural spaces. 3. 1-point perspective: Hi, everyone. This is lesson number ten, the one point perspective sketch. So the one point perspective sketch is used for interior drawings and central views, which all lines, all horizontal lines end up at the same point in the horizon. The grid structure of the interior sketch is a cube, as we saw it in the first lessons. It extends towards the outside, towards the side of the viewer, and on the other end, it ends up with one point on the horizon. This cubicle grid is made only for spaces and structures that are linear. For those structures that are round and curved, we're using the grid of an elliptical form. All the ellipses meet at the same point in the horizon and folding outside with the structure extending towards the viewer. So basically, the whole horizontal lines become arches and the vertical lines remain 90 degrees connecting the ground and the ceiling. As you see here in this example, based on the view point and how much the space opens up, the ellipses change their size and form, based on how big and how open, do we keep our viewpoint and perspective? So let's get your tools together and start sketching a one point perspective. Hi. So this lesson is about perspective drawing. The first thing that we draw is a horizon line. The horizon line is the one that divides the bottom and the top, the floor and the sky. This is how every perspective drawing starts. In this lesson, we're going to work on an interior sketch. That means one focal point perspective. In this perspective structure, we actually build everything, all the lines all the lines connect to the center. This is just one example. You can just draw some lines starting from the central point and in different angles towards the sides. As you see, the more lines you draw, it opens up our view. Once I reconnect those lines with vertical lines, you'll see that these surfaces are the ones that represent our view towards the center. So if we close them, we create an interior space, and this is where we draw. This is the frame of our work. Basically, this is the structure of our joint. All lines go all the way towards the focal point. The more we open our lines from the center, the more wide those lines are and the angle is more sharp. Our view will be more open. Here are some examples. You have that frame, we have the horizon line, we have the focal point. If I open it up like that, The view of the street in this example is more wide and open. If I create other lines and close them. Seems for us like a narrow streets where the surfaces are almost closing up on us. These four lines that we create from the center determine how open our camera view is or how open the street or the walls are. If we want to create a big room, a sensation of a big room, we will do wider and smaller angles. Yeah, so if you want to create a narrow room, you create different lines that are more close to the center of your frame. Let's begin with an interior sketch, interior view. And as we go along, you will understand the principle of the one focal point perspective. Let's start again with the horizon line, we'll do it with a lightweight pen so we can make many mistakes and then we'll emphasize with the wider pen. The focal point somewhere on that line, you can write F as a focal point. And then we just start by bringing out four lines and four angles starting from the center. So it's more or less 45 degrees line. Once we reconstruct and close them with a vertical line, we already establish the two surfaces on the side. If we close them as a square, this is where we have our basic scene of the sketch. All horizontal lines eventually meet at the focal point. If we divide and create the structure, we will see that these lines, the more we reach, the focal point becomes smaller and smaller and smaller. That gives us the sense of depth and the sense of space. Let me emphasize some of those lines. Imagine these are beam structures and walls or columns. We'll leave one empty, and then the other one we'll just mark them. Next one as well. So this is an interior view of a structure that is going towards the final pointee and a structure that goes towards the horizon. We'll draw some lines next to those that give us the sense of depth of the material. I'll do it with a very thin line. We can hatch it Or we can fill it with the shading. Once we shade it, it gives us a sense of that. On that side, we can decide if we want to fill it or leave it open. In this case, I'm just leaving it open. If I add a figure just for the scale of it, I'll have a sense of an interior space created by the structure of these beams and small walls. If I want to add, let's imagine that in between those beams, we have a void, so we can pass through a tree, maybe even on the other side as well. So I will do the whole tree as a whole, and then you'll see which lines are hidden and which lines are not. So basically, I'm creating another circle. As you see some of that lines of a circle go on top of the structure. And eventually, when we make the lines stronger, we won't see them. So what we strengthen is only the lines that go outside Outside our drawing. Once we put the color just for the feeling of the tree, you will see some parts are visible to us, some parts are hidden. Sometimes we just emphasize the floor by working from the central focal point and then expanding towards the back. And then just continue the lines on the bottom of the structure of the walls and beams. So you'll have this grid. Now, imagine the sun comes from that direction, which means that all of these structures, they reflect a shadow on the floor. So just to make it easy, we will have a lesson on light and shadow. But just for the fun of that, we fill these lines which connect our structure as the shade of our walls and beams. So that's an interior view with one focal point. As you see, all the lines meet in the horizon and the focal point, all the horizontal lines. The vertical lines, they stay as they are in all places. They just reconnect. I 90 degrees, you could actually reconnect these lines as well, but we don't see them. It's not part of our design. If you want to complete this design, especially when you do conceptual sketching and you want to understand what it is, you just put some lines out and write some text, what this material is about, which tree it is, the floor, what material it's made of, and so on. Another thing that helps us emphasize that sketch is our environment and background. So I imagine we have some some hills or mountains in the background, maybe we'll have some trees. So if you want to know how to make a tree in the same scale of the design. So in this tree, which is closer to us and this figure, it's such a big tree. Imagine that this tree is going now towards the horizon line, so it becomes smaller and smaller and smaller and smaller. So at that point, the trees are really small. That gives you the feeling of the distance to our design. So I can just work with more or less same size trees I will emphasize the mountains only in the places where we have the voids instead of structure. As you see here at this place, we have the voids. If this is the mountain line, this is the structure, void, structure, void. Here it's all void, so the mountains are visible. Then I can just fill it up. Okay. And that gives us the sense of the surroundings and emphasizes the interior view that you've created in a better way. Okay, so let's sketch a curved perspective. We already tried the linear one, the cubicle. So let's work with the curve perspective. So it's the same idea. We draw a horizon line and a vanishing point in the center in this case. As we work with curved lines, we are basically working with elliptic shapes or arches. So a circle in three D is well, circle is a shape that can be enclosed in a square. But in three D, as you see, the square becomes a rectilinear and then the circle is an elliptical shape. When we are creating our perspective, our curved perspective, we work with arches and elliptical shape. We'll start with an arch just to see. This is one arch, and let's do a second one that is reversed. This is our space. Once we draw a person inside, we feel it now. You see how this space is extending from the horizon and slowly becoming bigger and bigger and round as it extends towards the viewer. So our our ceiling is an elliptical shape, as same as the ground. So whatever connects them is basically the lines, the vertical lines that connect the two shapes. So this is the main structure of a curved perspective. So what you have to do is just work with the arches. All the horizontal lines are arches. They're not straight lines. They're going from the vanishing point and then they start curving. So it's either curving straight, which makes our space more high or low. So basically, this is the ellipse, and this is the second one and the third one and so on. So I just see the space is now more narrow. The narrow the ellipse, the narrower is also the space inside. So you see that now this is our wall. This is another wall. This is the ground, and this is our ceiling. It's much narrower. Or if you use the second, so the wall is more open. Or the third, the wall here is more open. Or the last one much open. So the bigger the ellipses, the more of a wide space we have an open space. So if you try to connect these lines together, you have the image and the understanding of how big or how small. So the arches are defining the space. When I was a student, I lived in Florence, and some professor used to say that you could skip my class and not come altogether on the condition that you would walk in the streets of the city and sketch and learn from it. I happily did that, skipped the classes and made the city my biggest teacher and mentor. The power of a place is something you should also find. The inspiration is always around you in every corner, window or square. It's your responsibility to find beauty everywhere. You choose to be an architect, so there must be a poet within you, and that poet wants to see the world through different eyes. So as I fell in love with the city of Florence, I hope you will find that, too, in your city and make her your partner in the journey. Just open your eyes and your heart because beauty is all of those places where eyes are not necessary. 4. 2-point prespective: Hi, everyone. This is lesson number 11, the two point perspective. In this lesson, we are going to see how the two point perspective is actually the most famous perspective drawing and sketch that we are doing as architects. It shows the extension of at least two facades of our building into different points in the horizon. It is usually used for exterior views of buildings or street views in a certain angle in a city. So the structure of a two point perspective is created through the horizon line. And on that horizon line, we find in the left part and the right part two points which are our vanishing points, and all the horizontal lines will meet that vanishing point. It determines the position of the viewer's eye. So if we want to show a bird view, a street level view or a human eye view, or an ant view, it changes completely the structure of our perspective. So in a case of an ant view, we will see our object or building or structure on the top part above the horizon line, which means we will see the bottom, the ground level visible to us. On the contrary, when we want to establish a bird view perspective, we will see the structure and the element on the bottom part of our horizon, and we will have a clear view of the roof of that structure. While a street level or a human view of a building gives us only two facades extending towards the outside towards both vanishing points, we don't see neither the ground or the roof. So general, in a two point perspective, when our building extends towards the environment, we tend to add some figures, some environmental elements, some nature trees, or the coloring of the background to enhance the sketch and the quality of our space. So let's see how it's done. Take your tools, prepare your workspace, and let's have some fun and create a two point perspective. Now, we will create two point perspective. So we always start with horizon line. And two vanishing points. Let's understand the basic structure of that perspective. Horizontal lines of the surfaces connect and extend and meet at the vanishing point. So if you wish to, let's take a very simple shape as a cube and try to draw it with different heights of the perspective. So if you look at the different lines, so let's draw two lines that go up. Imagine this is the middle point, the corner of our cube. So let's draw these lines and connect them with a line in the middle and connect them back to the vanishing point. So this is the structure of our cube. If you're looking from an end point of view, from a very low point of view, and we look up, we see that our cube is seen from the bottom. So we will see the ground floor of this cube. Let's draw these two lines and connect them with the vanishing point. Then again, from these corners, connect them to the crossing vanishing point. And this is our view of the cube. This is the ground floor. So basically, when we are looking at a cube from an ants perspective, and the cube is flying in the air or we see it from the bottom towards up. This is this is the shape of the cube when we have a lower point of view. Now, let's do the bird point of view, which is exactly the opposite. So we go with these lines on the bottom. We create another set of lines, and from the corners, we go to the crossing lines to the other vanishing points. Now this is the view of the roof because a bird view looks from the top. So what we'll see in this case of our cube, we'll see the roof of the cube. So this is a perspective, a two point perspective looking from a bird's point of view. But if we look at the cube from a human point of view, so it's from the middle of the horizon line, which is our eyes level. What we see is just the facades, just the two sides of the cube. So basically, it's just this This is our cube. We don't see the ground, we don't see the roof. We just see the facades of the cube. So this is our cube when it when we look at it through a human eye level. So this is an ant. This is a bird, and this is a human. 5. 3-point perspective: Hi, everyone, this is Lesson number 12, the three point perspective drawing. The three point perspective is used for exterior views or more environmental landscapes and sketching of environments. With that view, we are actually showing a real life perspective as our eyes perceive it with a sort of deformation or distortion of the view because we have at this 0.3 vanishing points that change our structure. So as the two point perspective, we have on the two sides of our horizon, we have two vanishing points. But on top of that, we have a third one on our vertical scale. We have a third vanishing point that determines the vertical lines of our building. Up until now, all the vertical lines were 90 degrees all the same. In this case, we're going to see how the vanishing point number three changes all the vertical lines, and they all meet at the same point. The three point perspective is usually used for bird views and sketches of big environments or city landscapes seen from above. So we have a triangular grid, and as you see in this image, this is how we're going to build it. In the three point perspectives, in some cases, we show a partial view of the ground. It's almost like an extension that is not going to be part of our sketch. It's a partial sketch because the three point perspectives is a sort of distortion of our architectural space. And the further we go down in this case, the further it extends and becomes bigger and bigger and bigger. So we keep it cut or partially just for the purpose of the dramatic feel of the view. Whenever we want to use a dramatic scene, a dramatic render of our building of our design, we use the three point perspectives. It gives us an extension, a dynamic flow towards the vertical plane. So the building extends right and left, but another extension towards the top creates a very powerful and dramatic view and effect. So let's see how it's done, get your tools together, and we'll sketch a three point perspective architectural space. Hi. So in this lesson, we're going to learn the three point perspective technique. We start with the same famous Horizon line as we did in the lesson before. We'll establish the two focal points. Do you remember from the other lesson? And the addition here is the third focal point somewhere in our sky, and we'll just see what it means. So if you remember, where we created really fast, all the horizontal lines should reach focal point number one or two. But here, instead of having a vertical line which is 90 degree line, these lines, all our vertical lines connect with focal point number three. Okay. So imagine we connect focal point number one to that line and from that corner focal point number two, as you see, we have a slanted surface. Our structure is now connected to the three points. Imagine we take another line coming from the third focal point and we bring it down. Let me emphasize the lines. This is what our cube would look like. We are standing here. The cube is stretched towards focal point number two, towards focal point number one. And that line and these vertical lines, they all stretch towards the third focal point, which makes it a little bit distorted. Instead of seeing a whole cube, you see some slanted surfaces. But in real life, this is what we perceive as perspective view. When we're standing in front of a skyscraper on the bottom on the street and look up, this is what we'll see. And we'll see a we will see a distorted view of the skyscraper, which means that all his vertical lines are going to a focal point in the sky. So same structure works here as well. If we want to recreate windows or divisions or anything, we just recreate the grid structure. So whenever it meets corner, we bring it to the other focal point. Same thing. With focal point number three. Now we have our grade on top of that distorted cube. All that's left is to emphasize the elements and the parts we wish to show as visible on our sketch. The more we want to go on, if we would like to go to another floor, we just choose lines, focal point number one connects them, focal point number two connects them, and this is our Next floor and so on and so on until we reach the top. Same thing in the bottom, if you want to have a street or a bottom view. This is how it goes. Remember that if you add trees, you can't create them vertically because then it seems as a pyramid. The trees also have a distorted view, so all the lines of the tree go up. It will feel a bit strange looking at the tree like that, but this is actually how we will perceive it. The whole plane is stretched towards the top. In this case, I wouldn't show the tree as it is because the image will be a bit distorted. One point perspective you use usually for interiors or when you want to show a street in the middle of a city that takes you towards the infinite horizon. The two point perspective we usually use to show an exterior view of a building from different sides, from its corner. So we see at least two of its surfaces, like a three D vision of it. And the three point perspective, which is the more complex and distorted perspective, we use where we want to see the realistic view of a building with its distorted planes. This is how our eyes would perceive if we're standing right next to a building and looking towards a certain angle in the sky. When I was a teenager, I was a bit of a rebel. I had my pack of friends at my skateboard. We used to ride in the streets of Berlin and every once in a while, paint some graffiti on the streets corner. One of my favorite places to ride a skateboard was in this beautiful open area just in front of a glass building. Every day, we would pass through it and enjoy the smooth feeling of the wheels and the pavement. Sometimes I would have to go to the bathroom and there was no one there, and I used to pee in the garden next to the building. Many years later, in a big class in architecture history, the professor showed us a slide of the most important monument Noya National Gallery in Berlin by Miss Vander. And I understood that this was the place where I was peeing, and I didn't realize that I spent my childhood next to the most influential building in the modern history. We were living next to important places, and you may not know how important they are, but they do leave an impression. And maybe they weren't meant for skaters, but for me, it was the most beautiful place. And I remember it all my life just because I'm still fascinated by how smooth my wheels run on that paper. So sometimes it's all about the invisible, unnoticeable details that can carve a memory in your mind. So look for them, find them near you, or create them for others. 6. Light and shadow: Hi, everyone. This is lesson number 14, light and shadow in architectural sketching. So light and shadow are fundamental elements that we use in our architectural sketching. It's a fast method that we need to apply to ourselves when we sketch spaces and structures. It helps us understand immediately either the depth of the structure or the shape of it. So in this lesson, we're going to learn a very fast method and a tool to understand where the light source is coming from and then how that light source establishes the different shades and trajectories of the light and shades on top of our objects. So here are some tips and tricks on how to make your sketch look more real and how to bring more life into it through lights and shadows. In architectural sketch, we need to show the light effects and the light emphasis on the different structures, the walls, the ceiling, and the ground when we have especially interior views, but also in exterior views, how the sun affects our facades. This gives a very powerful sensation in our image. So the light glows and the light points that are spread in different parts of the sketch enhance its realism and the effect of the space that is created on the viewer. We use a lot of those light and shadows, especially in architecture and plants, sections and elevations. As we represent those different details in architecture, we are showing it in a very subtle way, but it brings all the drawings into life and show a very professional approach to sketching. So it feels almost that the sketch leaves the flat plane of the paper and becomes alive in the three dimensional space. So the light effect and the shadows in an architectural drawing are bringing all the volumes to life. They give them a very strong sensation of a gradient, of a gradual change of a structure. It helps to understand the complexity and the dimension of the space and the shapes and enhances the connection to the three dimensional field. When we want to observe how it's done, we usually take an image or an object and then play with different high contrast filters, and then we see exactly where are the strongest shades and dark places and where is the strong light coming from or where does it hit on the surface? So in the black and white pictures and sketches, the light is carving the shape outside of the darkness. It's such a beautiful way to see and to take a black paper, for example, and then draw with white charcoal and see how the structure and the building is almost carved out of this dark background. So in this case, light operates almost as a sculptural action. Try to do that exercise, take a black paper, take a white pencil or a white charcoal and draw a basic structural element like an arch or a cube or one of the forms that you have designed and see how from the shades and the darkness this beautiful structure comes to life. In this lesson, we will go through light and shadow and a very quick technique to be used as architects and designers when we want to show some building sketch or some exterior sketch, and how do we apply some rules which are not too scientific, but just as a feeling of light and shadow? So let's start with the basic. Imagine a cube. Let's build it in perspective. If you remember the two focal points corner. Let's create a cube. Okay. So this is our cube. Now, let's imagine our source of light. This is where we have to start. Once we know where the light comes from, this is where we can build and recreate the shadows and the depth effect of light and shadow. Let's imagine the sun comes from the back. What we do to make it short and not go into a scientific rule of light and shadow, we look at the corners of our building, the edges, and then connect the source of light with the corners. Continue the lines. These are the rays of light that are hitting our cube. As you see here, when the light is hitting the surface of the cube, we know that on the floor, there will be a shadow based on the surface. So we just continue the same line given given by our rays, and then we reconnect them with the same angle of the floor. Imagine we go further and we just reconnect it. All of this area here is the shadow given by the surface of the cube due to the source of light in that position. If we have a different position, let's say, on the other side, so this is our sun, again, we take the rays of light hitting through the corners we choose one of them, let's say this one, this corner on the bottom. All we have to do is just see the lines bottom on the floor and just reconnect with the same angle. This one here, same line here, parallel. All we have to do is emphasize this shadow on the floor. If the light comes from a really low angle, it will hit directly one of the surfaces and means that the other surface has no light whatsoever, which means that this surface here is filled with a full shadow. All you have to do is play around with the different light sources. Imagine you have a cube and start putting your sun in different directions, and then just recreate the shadows as we work here on these three examples. Always imagine that if the light doesn't come directly from the top, but on the sides, there will be more than one surface filled with some light. So if you reconstruct two surfaces, remember that some of the light will also hit on the other side. Another principle of light and shadow, let's recreate the same cube, and imagine we have an opening in our surface. Always, as a rule, put the shadow inside the depth of our surface. It gives our design a true feeling. So as you see here, when I add just a small part of the shadow inside, I immediately understand the depth of the structure. So if you have a lot of windows, if you have arches, it doesn't matter. Just add if I have an arch, you start from the middle and go with the line and reconnect it. So this gives a sense of depth in your design. It doesn't matter where the light comes from, just give it some depth with a shadow. I will highlight in three dimensional space. Imagine you look at a structure from the top. Let's draw a nice curved wall. Imagine this is a curved wall and you want to show the light and shadow of that wall in a plan view. Imagine the light comes from this direction. This is this is basically the wall if I'm standing here as a person. As we said, imagine this is a plan. We connect our sun with rays of light to the corners, and now we see the expansion of the shadow from the structure towards the ground. So if I would have to reconstruct the shadow, it means that this part inside is filled with sunlight. This part is all in shades and it throws the shade down. So if this is the sun, then the interior direction within the wall is filled with light. This surface is filled with shadow, and this is the shadow that is expanding from the structure. So I'm just recreating the same arch of our wall. So basically, this is all surface of shadow. So just to show how it looks like, this is the shading structure on the floor here in three division, Let me see how it creates that feeling of a shadow, and this is our wall structure that stays. In plan, this is what we will see. If we would have a window inside that wall, let's say somewhere here in the middle. If this was a window here. We will probably see the sun rays coming from the window towards the floor. We will see it. Again, just connect the sun rays to the corners until it meets the floor. Then basically, this is what you will see as a As a light, all the rest will remain as a shadow. But this is the window. Through that window, the sunlight goes all the way to the floor and lights up. Same thing on the plane. Through the window with the height, we will see somewhere around here the size of the window on the floor.